Lorna Simpson, <i>Wigs (portfolio)</i> (1994)http://www.artsconnected.org/resource/84892/lorna-simpson-wigs-portfolio-1994
ArtsConnectEd.org Art Collector Set: Lorna Simpson, <i>Wigs (portfolio)</i> (1994)Lorna Simpson, <i>Wigs (portfolio)</i> (1994)http://www.artsconnected.org/images/favicon.pnghttp://www.artsconnected.org/resource/84892/lorna-simpson-wigs-portfolio-1994
1616Lorna Simpson, Wigs (portfolio) (1994)http://www.artsconnected.org/resource/84892/lorna-simpson-wigs-portfolio-1994
Tue, 01 Jun 1999 00:00:00 -0400<table cellspacing="0">
<tr>
<td class="detail_label">Title</td>
<td><h3>Lorna Simpson, <i>Wigs (portfolio)</i> (1994)</h3></td>
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<tr>
<td class="detail_label">Author</td>
<td><h3>Walker Art Center</h3></td>
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<td class="detail_label">Date</td>
<td><h3>1999</h3></td>
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<td class="detail_label" style="padding-right:7px;">Institution</td>
<td>Walker Art Center</td>
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</table><br/>Lorna Simpson, based in New York, is an artist who works mostly with photography and film. She often pairs text and images to question the linear nature of storytelling and to complicate the relationship between words and pictures. In <i>Wigs (portfolio),</i> Simpson photographed 21 wigs of varying sizes, shapes, and textures. The differences in hairstyle allude to differences of race, gender, and age. The wigs also raise the subject of identification and misidentification, appearances and stereotypes. The images are paired with panels printed with short texts, such as the phrase "first impressions are the most lasting." One text is from the slave narrative of William Craft and describes his plan for escaping to freedom by having his wife masquerade as his white master.
<p>Simpson was the Walker's Visual Artist-in-Residence in 1997-1998, during which time she made the film <i>Recollection.</i></p>
http://www.artsconnected.org/resource/84892/lorna-simpson-wigs-portfolio-1994Lorna Simpson, based in New York, is an artist who works mostly with photography and film. She often pairs text and images to question the linear nature of storytelling and to complicate the relationship between words and pictures. In Wigs (portfolio), Simpson photographed 21 wigs of varying sizes, shapes, and textures. The differences in hairstyle allude to differences of race, gender, and age. The wigs also raise the subject of identification and misidentification, appearances and stereotypes. The images are paired with panels printed with short texts, such as the phrase "first impressions are the most lasting." One text is from the slave narrative of William Craft and describes his plan for escaping to freedom by having his wife masquerade as his white master.
Simpson was the Walker's Visual Artist-in-Residence in 1997-1998, during which time she made the film Recollection.
" type="image/jpeg" />Lorna Simpson, based in New York, is an artist who works mostly with photography and film. She often pairs text and images to question the linear nature of storytelling and to complicate the relationship between words and pictures. In Wigs (portfolio), Simpson photographed 21 wigs of varying sizes, shapes, and textures. The differences in hairstyle allude to differences of race, gender, and age. The wigs also raise the subject of identification and misidentification, appearances and stereotypes. The images are paired with panels printed with short texts, such as the phrase "first impressions are the most lasting." One text is from the slave narrative of William Craft and describes his plan for escaping to freedom by having his wife masquerade as his white master.
Simpson was the Walker's Visual Artist-in-Residence in 1997-1998, during which time she made the film Recollection.
" type="image/jpeg" />Copyright 1999 Walker Art CenterWalker Art Center